Jake Gyllenhaal

  • The Guilty (2021)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, February 2022) I have a remarkable fondness for high-concept thrillers, and in remaking a Danish 2018 thriller for an American audience, The Guilty certainly has something cool up in its sleeve: a suspense story almost entirely seen through the eyes and ears of a 911 response officer. The story gets going once our protagonist (an effective Jake Gyllenhaal, once again teaming up with director Antoine Fuqua) gets a phone call: a woman has been kidnapped, she’s being driven aboard a white van and she’s terrified to talk. Using all the means at his disposal (and not just the conventional ones), our hero with a dark past slowly gets to the bottom of the story and finds one big twist waiting for him. This isn’t the first 911 thriller (2013’s The Call, with Halle Berry, is perhaps the best known of the others), but this one remains surprisingly rigorous in its intention to never leave the 911 call centre. There are only a handful of actors appearing on-screen, with the rest of the action playing out in voices and brief flashes of imagination. The Guilty tries to reach for something bigger than an abduction story later on, as the protagonist’s dark past is tied up to larger questions about police abuse, but in the end the film remains a tight 90 minutes claustrophobic exercise. It’s clearly a COVID-shot film (production notes state that the director was able to keep on directing the 11-day shoot despite being sick, by using a remote production location and plenty of video monitors), reflecting the isolation and remoteness of other people during that specific period in time—not to mention the apocalyptic environment of Los Angeles being surrounded by wildfires. Its effectiveness does have its limits, though: the plot is a bit thin, with the big twist being predictable and the protagonist’s background problems being perfunctory. Still, The Guilty is not a bad pick—and Gyllenhaal must have enjoyed the change to stretch some acting muscles during a relatively short and intense shoot.

  • Velvet Buzzsaw (2019)

    Velvet Buzzsaw (2019)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, December 2020) I’m weirdly interested in the modern art market: the intersection of art and irrational investment is almost too weird to be true, but the dollar figures speak from themselves. For writer-director Dan Gilroy, it was perhaps the most logical follow-up to Nightcrawler’s local news insanity. In Velvet Buzzsaw, Jake Gyllenhaal plays an art critic who becomes involved in the posthumous discovery of an outsider artist, and who realizes far too late that the work is cursed in lethal ways. Unfortunately, there are two films in Velvet Buzzsaw and one is far more successful than the other. The satirical look at the modern art industry is on-target and could have sustained the film on its own: The complex ecology of artists, critics, gallery owners, investors, museum curators, “investment consultants” and assistants to all of these is very well portrayed, and the film isn’t afraid to blend whimsy with satire – seeing the protagonist having an opinion on every-single-thing never stops being funny, but the script’s fast-paced rhythm manages to skewer nearly everyone in sight. (By the time a gory murder scene is hilariously misinterpreted as an installation, I was cackling aloud.) Weirdly enough, though, the story’s steady and complete slide into horror is not as successful – and I say that as someone who’s far friendlier to genre material than most, and who often shoves liminal works into a supernatural interpretation. What bothered me most is a common failing of non-horror writers who decide to tackle the genre: an absence of clear rules as to what we’re dealing with. The horror in Velvet Buzzsaw is more expressionist than logical: There are no limits to what demonic possession can or cannot do, and that gives an arbitrary quality to the narrative when even smart characters can’t adequately anticipate and protect themselves against fatality. Maybe that’s part of the point, but I don’t think so – while I can appreciate an ironic finale as much as anyone (and Velvet Buzzsaw has a really good one that ties back into its title), there’s a mushy dreamlike quality to the third act of the film that could have been much improved had it been overlaid on a coherent foundation: when everything is a dream, the stakes are lowered, and when the plan is to kill everyone but the bespectacled assistant (a very cute Natalia Dyer), then the horror remains a joke. Gilroy being Gilroy and friendly with half of Hollywood, the talent assembled here often outstrips the material: Nightcrawler star Gyllenhaal can’t do any wrong here, Gilroy’s wife Rene Russo is well cast as a galley owner, Zawe Ashton makes a good impression as an assistant and John Malkovich has a superfluous but enjoyable turn as a cranky artist. I may be disappointed by Velvet Buzzsaw’s uneven control over its material, but I did like the result quite a bit despite its imperfections: it’s funny, dark, smart, fast-paced and as visually interesting as some of the pieces it showcases.

  • Les frères Sisters [The Sisters Brothers] (2018)

    Les frères Sisters [The Sisters Brothers] (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2019) As much as I’d like to like The Sisters Brothers, I felt more nonplussed than entertained during its duration. For all of the fun of seeing John C. Reilly, Jake Gyllenhaal and Joaquin Phoenix in the same movie, the final result seems stuck between two chairs, neither distinguishing itself from modern westerns nor being comfortable enough to play the usual elements of the genre without tweaks. To be fair, there are plenty of delights here—the atmosphere is well rendered with a contemporary edge, John C. Reilley gets a rare dark difficult role, and the ending doesn’t give in to easy expectations. On the other hand, The Sisters Brothers coasts a long time on its bitter comedy, neither being all that funny nor all that revisionist enough. Its most distinctive trait may be that it’s a western that takes flagrant liberties with chemistry—how often do we get to say that? Otherwise, well, it’s a sombre tale of gunmen nearing the end of their run, of self-reflective heroes questioning what they’re best suited for. The feeling is more akin to art-house cinema (well, OK, not really) than to classical western—all scenes feel too dark, all characters too self-tortured, all subplots ending in a way designed to withhold conventional satisfaction. I do believe that director Jacques Audiard (a Frenchman playing in a very American genre) has achieved in The Sisters Brothers the film he wanted to make—but I’m not sure that’s the film I wanted to see.

  • Spider-Man: Far from Home (2019)

    Spider-Man: Far from Home (2019)

    ByChristian Sauvé Movie Review

    (In Theaters, July 2019) Life goes on after The Avengers: Endgame, and so Spider-Man: Far from Home is our first glimpse at the way the MCU reconfigured itself in the wake of its latest event movies. In the Spider-Man context, it does mean going back to a more basic adventures, albeit not an unspectacular one: As Peter Parker and his high-school class heads over to Europe as part of their senior year, trouble keeps following Parker no matter where he goes. The psychological impact of previous movies isn’t forgotten (Parker’s hero worship of Tony Stark ends up being one of the film’s dramatic strands), but we can occasionally take a breath to focus on such teenage issues such as asking out a girl and/or dealing with romantic competitors. From a narrative standpoint, Far from Home is cut from the same cloth as other MCU movies: There’s an effective balancing of character, action, comedy and spectacular set-pieces, pulling elements from previous entries to add a bit more depth to the mayhem. The special effects are quite good, although the film’s ongoing theme of illusions does mean that we’re in for some disorienting visuals that seem markedly less than photorealistic. There is also some weirdness in terms of plotting and characterization (mostly Nick Fury’s, which seems like a parody of itself) that eventually get explained by the end of the credits, but they’re still distracting for most of the film. Tom Holland once again turns in a great dual performance as Parker and Spider-Man, with some great co-leading work by Jake Gyllenhaal, and supporting performances by Zendaya (finally realizing the promise suggested in the first film) and the Marisa Tomei/Jon Favreau couple. The result is generally satisfying, although it comes so close on the heels of Endgame and the spectacular Spider-Man: Welcome to the Spider Verse that it seems perhaps a bit too ordinary in comparison. Still, it’s guaranteed entertainment for dollars, and that’s been the trademark of the MCU for a while now.

  • Okja (2017)

    Okja (2017)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, August 2018) Much-ballyhooed as a more ambitious kind of Netflix original project (as in: a major director’s film approved and financed by Netflix rather than them buying the distribution rights of an independent production), Okja also represents the latest in Bong Joon-ho’s typically scattershot blend of comedy, action, drama, horror and irony. Decently budgeted, Okja presupposes the existence of genetically modified super-pigs, leading to animal activists trying to prevent their exploitation by a heartless corporation. Obviously, Okja‘s anti-animal abuse themes are often undistinguishable from a recognizable vegan agenda, but don’t let that stop you from sampling what it has to offer. Okja itself is an often-delightful CGI creation, a creature bred for meat but designed for cuteness. That balance informs the rest of the film, as it veers between horror at animal exploitation (with a forced-breeding scene that’s as horrifying as anything else in movies this year) and good-natured charm at the creature and the efforts of a heroic ragtag band of activists at saving it. Intentionally, Okja itself is uncomfortably semi-sentient, bringing us to the uncanny valley of what’s dumb enough to eat even for confirmed carnivores. Tonal shifts are part of the Bong Joon-ho experience after all, and if his previous films have already been a bit challenging because of the way they go from one genre to another, Okja is a magnified instance of the same. The Anglo/Korean cast is wonderfully eclectic, with Ahn Seo-hyun in the lead role with Tilda Swinton, Paul Dano, Giancarlo Esposito and Jake Gyllenhaal being some of the best-known names recognizable to a western audience. Challenging, uncomfortable, surprisingly enjoyable at times and just as surprisingly disgusting at others, Okja is not the kind of film to watch on a lark. But it’s a good thing that Netflix can get behind such unconventional projects.

  • Life (2017)

    Life (2017)

    ByChristian Sauvé Movie Review

    (Video On-Demand, July 2017) I really wanted to like Life more than I did. After all, while I’m not all that fond of yet another monster-in-space horror/SF movie, the idea of making such a film following the hyper-real example of Gravity (which Life really wants to emulate down to very similar opening tracking shots and South-Asian finale) is intriguing, and so is the cast, leading with the always-sympathetic Ryan Reynolds and Jake Gyllenhaal. I’m even open to downbeat finales, provided they make some kind of thematic and plotting sense. But from the first few moments, something is off with Life, and the problems just escalate from there. The issues start with a needlessly obscured “catch the satellite” sequence that barely makes physical sense, but then they get worse as a magical alien life form shows up with no other goal than to kill everyone in increasingly gruesome ways. The impossibly intelligent creature soon makes mincemeat out of the crew, helped along with an absurd succession of dumb character/screenwriting decisions that clearly show that the deck is stacked against a happy ending. The horror sequences are more stomach-churning than entertaining, and the downbeat conclusion depends on a flip of a coin. While it’s kind of daring to kill off your most charismatic character first, and to doom the entire human race by the end, it doesn’t really make for an entertaining movie. Life ends by leaving viewers with the impression of having brushed against something repulsive … which really doesn’t help repeat viewings. For all of the high-tech gloss that makes Life so intriguing, director Daniel Espinosa’s halfway competent execution doesn’t really mask the problems with the script. My tolerance for unhappy endings is growing smaller and smaller every year (and it was never really all that forgiving in the first place), so when an everybody-dies-horribly film like Life comes along, I find it ever easier to dismiss it almost completely.

  • Brothers (2009)

    Brothers (2009)

    ByChristian Sauvé Movie Review

    (In French, On TV, May 2017) Let me tell you what a bad trailer is: A bad trailer spoils the movie so thoroughly that you can anticipate how it ends even eight years later. Now, I can’t account for the quirkiness of my brain given that it forgets when I’ve put my car keys while remembering a decade-old trailer for a mostly-forgotten movie, but the point is: I sat down to watch Brothers and kept waiting for that police confrontation scene … which comes at the end. It doesn’t help that the film is frankly dull, dealing with two brothers and what happens when one of them comforts the wife of the other while he’s missing and presumed dead in Afghanistan. You’d think that the question of whether the brother sleeps with the wife would be an interesting one, but Brothers is so limp and tedious that it’s a let-down when he doesn’t. From a narrative standpoint, there isn’t much to Brothers, making it feel even longer as the same plotlines are laboriously developed. It does fare batter as an acting showcase, given how it features Tobey Maguire in one of his most animated performances, the always-reliable Jake Gylenhaal as the problematic brother, and Nathalie Portman in a down-to-earth performance. Fans of straight-up drama will appreciate, although others may start eyeing their watches not long into the movie.

  • Nocturnal Animals (2016)

    Nocturnal Animals (2016)

    ByChristian Sauvé Movie Review

    (Video On-Demand, March 2017) Director Tom Ford’s second feature is often just as controlled as his previous A Single Man, but it doesn’t quite manage to fully exploit the material at its disposal. Amy Adams is her usually remarkable self as an art gallery manager absorbed by her ex-husband’s roman à clef—thanks to some clever cinematography and dark clothes, her head often floats alone on-screen, focusing our attention on a role with a complex inner component. Told non-linearly while hopping in-between a base reality and fiction, Nocturnal Animals is happy to remain enigmatic even when dealing with terrible events. The novel-in-a-film is about gruesome murder, vengeance and a man losing everything. But what I did not expect to find here is as good a movie portrayal as I’ve seen of the reader’s experience with a great book: the way we get hooked in lengthy reading sessions, the abrupt transition from book to real life, the way the fiction bleeds into reality… I’m not sure any movie has quite shown it like Nocturnal Animal. This, paradoxically, makes the rest of it weaker, especially when it becomes obvious that reality and fiction are meant to interact and reflect upon each other (what a great idea to have Isla Fisher play Amy Adams’ fictional counterpart): the conclusion seems to hold its punches, and seems limp in comparison to what precedes it. Otherwise, we do get great performances by Jake Gyllenhaal and a pleasantly gritty Michael Shannon as a doomed policeman. Add to that the terrific cinematography and Nocturnal Animals gets a marginal recommendation—with the caveat that it doesn’t all click as well as it should.

  • Demolition (2015)

    Demolition (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2016) This won’t matter to anyone else, but the last movie I watched in 2014 was an enigmatic drama featuring Jake Gylenhall and directed by a French-Canadian, and the last movie I watched in 2016 was also an enigmatic drama featuring Jake Gylenhall and directed by a French-Canadian. Demolition is far more audience-friendly than Enemy, though, even if much of the story takes place in the protagonist’s head as he acts out in strange ways. Everything starts when the protagonist’s wife is killed in a car crash. Our main character feels a curious mixture of remorse and lack of regret: He arguably contributed to the crash, but things weren’t all that happy between them. Now that his rich father-in-law is furious and his life is in shambles, our lead character flays for answers. He writes a letter to a vending machine company after a machine eats his money, picks up a demolition hobby (first with a professional crew, then freelancing on his own house), makes unlikely friends and lovers and looks at the world in a different way. As a portrait of a grieving man, Demolition is significantly more interesting than the usual, but even the surface distractions (all the way to a gaudy carrousel) can’t hide the sadness at the heart of the story. The quirky black humour does feel a lot like the current crop of independent comedies, but it helps the film stay more interesting than other similar films. Gyllenhaal is as good as ever in the lead role, ably supported by other capable actors in smaller roles. This being said, Demolition isn’t transcendent, and seems to avoid going to the end of its own train of thoughts: Even the titular demolition conceit seems to run out of steam at some point, muffled among other competing subplots. But even running at half-speed, Demolition works well and doesn’t waste our time. As a three-peat reunion between and Gyllenhaal and a French-Canadian director (this time, Jean-Marc Vallée rather than Denis Villeneuve), it keeps up the good quality of these collaborations.

  • Everest (2015)

    Everest (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, June 2016) This may sound ungrateful, but I’d expect a disaster movie about climbing the Earth’s tallest mountain to be a bit more … impressive. It’s not as if Everest is entirely missing in thrills: After reading a lot about Himalayan mountain-climbing, it’s fascinating to see a big-budget production head over to Nepal (even if only for a small portion of the shoot) and show us how it’s done. The capable group of actors assembled for the film is impressive, starting with the ever-impressive Jason Clarke and Jake Gyllenhaal as duelling climbers/entrepreneurs. Part of the film’s middle-of-the-road impression may be due to its insistence on sticking to a true story, the disastrous 1996 Mount Everest disaster spectacularly chronicled in Jon Krakauer’s Into Thin Air. Interestingly enough, Everest is not based on Into Thin Air, while Krakauer shows up as a non-heroic character. There’s a limit to the amount of drama (or, perhaps more accurately, audience-friendly dramatic structure) that can be generated from a film intent on sticking to facts, and Everest finds itself limited to the real story. Direction-wise, Baltasar Kormákur has fun with some set pieces, even though the story itself treads familiar ground. What’s often missing, though, is a sense of scale: For such a big mountain, Everest is too often glimpsed from too close and the film rarely delivers on the awe of the mountain-climbing experience. Regrettably, Everest’s strengths only highlight its limits: While it’s a decent travelogue, it should have been a more absorbing experience. I may, however, revisit this film in a few years to see if I’m being too picky.

  • Accidental Love aka Nailed (2015)

    Accidental Love aka Nailed (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2015) For years, rumours abounded about David O Russell’s famously abandoned film Nailed: Despite featuring known actors (Jake Gyllenhaal, Jessica Biel), an amusing premise and a decent budget, complex issues during the production of the film made it unravel before principal photography was completed. The almost-finished film languished for years, the director publicly disowning it while investors and producers tried to find a way to complete it. Many, including the director and its stars, had given up hope of seeing it (it’s even featured in the book The Greatest Movies You’ll Never See). But then, something happened and something like Nailed made it into the wild. But that something is not a successful film. Despite a few comic set pieces (a dinner opening sequence, Kirstie Alley as a living-room surgeon, an abrupt tryst that mangles presidential portraits, the Girls Scouts revealed as an incredibly powerful lobbying organization), Nailed! (or Accidental Love, as it’s known in the US) has the feel of, well, an unfinished film. Crucial narrative tissue seems missing or botched (witness the pivotal “nailing accident” scene, crudely stitched together from what looks like other bits and pieces of the film), the script never being able to tie up its loose ends. In other words, it feels exactly like a film that had to be released without the luxury of reshoots and fine-tuning. It’s certainly worth a look for fans of the main actors—Jake Gyllenhaal looks really young as a somewhat naïve congressman wearing too-big suits, while Jessica Biel is often too charming for words as a small-town waitress with a debilitating neurological problem. As a curiosity, it should satisfy film pundits who heard about the film for years without quite knowing if they’d ever see it. But Nailed is not a film that stands up on its own without the attraction of its back-story. I have a feeling that, some day, someone is going to write a tell-all article or put together a revealing documentary about the making, unmaking and remaking of this botched film, and it’s going to be far more interesting than the movie itself.

  • Nightcrawler (2014)

    Nightcrawler (2014)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, November 2015) The concept of the anti-hero is retooled with vigour in Nightcrawler, thanks to a terrific collaboration between writer/director Dan Gilroy and another exceptional performance by Jake Gyllenhaal.  Taking place in modern Los Angeles (now illuminated at night by bright-white LED streetlamps) where competing news stations are literally out for blood, Nightcrawler is first and foremost the character study of a modern sociopath, one whose ambition is fueled by personal-growth Internet sites, a complete lack of morals and a world that gleefully applauds the result of his efforts.  Gyllenhaal is phenomenal in the lead hustler role, portraying a deeply wrong character with almost-complete detachment: the film’s best scene is a “simple” dinner date in which a human relationships is dissected to its most self-interested axioms.  Otherwise, much of the film is spent in the streets of Los Angeles at night, chasing accidents and selling video footage to the highest bidder.  It’s a nightmarish but well-executed film, Gilroy showing talent at his first directorial effort –and showcasing his wife Rene Russo in one of the best roles she’s had in years.  There’s quite a bit of depth in the way Nightcrawler also engages with issues of degenerate capitalism, social voyeurism and media fearmongering.  It’s quite a film, but also quite an experience in how it refuses to see things from outside its lead character’s perspective.  Don’t be surprised if you want to shower after watching it.

  • Southpaw (2015)

    Southpaw (2015)

    ByChristian Sauvé Movie Review

    (Video on Demand, November 2015)  With a few modifications, Southpaw would have made a splendid Rocky II: It begins with a boxer in the prime of his life, winning fights, enjoying his money, loving his wife and doting on his daughter.  But it doesn’t take much for all of it to be taken away, and much of the film is spent going through this riches-to-rags story and then looking on as the protagonist digs himself out of the hole he’s fallen into.  It’s a relatively familiar story (although the triggering incident twenty minutes in the film will surprise many who haven’t seen the trailer), but it’s generally well-executed enough.  What really shines here is Jake Gyllenhall, physically pumped-up and ripped to a degree that may shock fans who aren’t used to seeing him in such peak condition: beyond the physique, he brings his usual intensity to a role far more aggressive than most of his previous performances and the result is often mesmerizing.  (Compare him in Prisoners, Enemy and Nightcrawler for an astonishing slice of filmography spanning just three years)  Forest Whitaker and Rachel McAdams don’t exactly stretch themselves in supporting roles, but they each bring what they do best.  Curtis “50 Cents” Jackson and Naomi Harris have all-too-brief minor roles, while Oona Laurence is remarkable in a tough child performance.  Director Antoine Fuqua thankfully leaves some familiar tics behind in delivering Southpaw (it’s not quite a gratuitously violent nor as obsessed with police elements as many of his previous films, or instance) and he’s able to direct familiar boxing scenes with a good amount of power.  It’s not quite a feel-good film (despite the triumphant ending, viewers will have to crawl along a lot of mud alongside its protagonist to get to the good parts) but it’s satisfying enough.  Southpaw’s not meant to be subtle, but it lands its punches.

  • Love & Other Drugs (2010)

    Love & Other Drugs (2010)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, April 2015) Consider me pleasantly surprised: I wasn’t expecting much from this romantic comedy, but Love & Other Drugs has more than enough bright moments to earn a marginal recommendation despite an unsatisfying conclusion.  The two best things about the film, obviously, are the performances by Jake Gyllenhaal and Anne Hathaway, both of whom manage to elevate potentially reprehensible characters into likable romantic leads.  The third best asset of the film is the first half of co-writer/director Edward Zwick’s script, which manages to deliver a witty introduction to the world of pharmaceutical product selling, along with a mature love story that seemingly holds little back.  Yes, this means plenty of nudity.  But more importantly, it also means two protagonists who delight in making their coupling as difficult as can be, negging each other relentlessly and desperately clinging to an unrealistic ideal of non-attachment.  The dialogue is biting, the love scenes have a bit of heat to them, Hathaway looks spectacular (on-par for Hollywood’s idea of terminally-ill young women) and Gyllenhaal plays up his motor-mouth hustler character in a way that’s actually charming rather than infuriating.  But Love & Other Drugs goes awry somewhere past its midpoint, as it struggles with the realization that it has introduced a romance with no possible satisfactory conclusion.  From sharp-tongued comedy, it becomes both a weepy drama about an incurable disease then a routine romantic film with an expected ending.  The credits roll on happy characters, but we viewers suspect a much darker aftermath.  The last-act blend of romantic idealism clashes with the grim advice received by the protagonists and the cynical spirit of its initial scenes.  As much as I enjoyed the first half of the film, it does set up expectations that are impossible to fulfill.  There may have been a better film lurking in the basic premise, one with a more biting denunciation of Big Pharma and fewer emotional dead-ends.  In the meantime, you can always be riveted by the first half of the film, and let your attention wander during the rest. 

  • Enemy (2013)

    Enemy (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2014) In some ways, it’s fitting that Enemy should be the last film I’ve seen in 2014, given how my reaction to it is in many ways a reflection of where I am in my cinephile’s journey.  Because Enemy is one of those movies where an enigmatic plot ends up being a metaphor for a deeper meaning that may not be fully apparent from a superficial viewing.  Here, a mild-mannered college professor discovers that he has a doppelganger, an extrovert actor.  When the two men meet, issues of fatherhood, relationships and intimacy all come up, in an enigmatic mixture of mystery, fantasy and allegory.  Anyone watching the film for plot will be frustrated, especially if they expect stated answers by the end of the film.  There is a lot to decode in the film, starting with the issue of whether there is a doppelganger and whose doppelganger it is.  Now, as it happens, I’m at that stage in my movie-watching life when I can recognize the deeper levels of interpretation –but can’t be bothered to care.  Purposefully-enigmatic films that revel in ambiguity (all the way to the director remaining coy about what it all meant in press interviews) are more annoying than anything else, and my ultimate reaction is to opt out: I refuse to put the puzzle together.  So what’s left in Enemy for us refusniks?  Fortunately, a well-crafted film.  French-Canadian director Denis Villeneuve does really well in this second (chronologically first) collaboration with Jake Gyllenhall, leading a carefully designed film bathed in the kind of gold light that makes Toronto looks either cool or creepy.  Gyllenhall himself gets a plum pair of roles as a split personality playing off himself.  The film may be quiet, but the second-to-last shot is a pure shocker, fit to send even forewarned viewers climbing the drapes while shouting HOLYCATS, WHATWASTHAT?!?!!  Too bad that the film wants to be so maddeningly mysterious.  It asks a lot of its audience, so it shouldn’t be surprised if many won’t play along.